Excerpt from A Treatise on Counterpoint, Canon and Fugue The present work is intended as a companion rather than a sequel to the author's Treatise on Harmony. There is a great difference of Opinion in different countries as to the method and order in which Harmony, Counterpoint, Fugue, Form, and Musical Aesthetics should be studied. In Italy, for example, it has been (till quite recently) the custom to study Counterpoint first, then Fugue, then Harmony; whereas, in England, Germany, and France Harmony has always been taught before any other branch of the subject. But upon a careful consideration of the whole matter, it seems more reasonable to study Harmony and Counterpoint simultaneously. The principal reasons for adopting this course are stated in the body of this work, and both the author's Treatises have been written with a view to this method of treatment. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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This book demonstrates, in fascinating diversity, how musicians in the nineteenth century thought about and described music. The analysis of music took many forms (verbal, diagrammatic, tabular, notational, graphic), was pursued for many different purposes (educational, scholarly, theoretical, promotional) and embodied very different approaches. This, the first volume, is concerned with writing on fugue, form and questions of style in the music of Palestrina, Handel, Bach, Mozart, Beethoven and Wagner and presents analyses of complete works or movements by the most significant theorists and critics of the century. The analyses are newly translated into English and are introduced and thoroughly annotated by Ian Bent, making this a volume of enormous importance to our understanding of the nature of music reception in the nineteenth century.

Vols. for 1871-76, 1913-14 include an extra number, The Christmas bookseller, separately paged and not included in the consecutive numbering of the regular series.